Ever since my last few posts where I wrote about how much I enjoy the SIGMA fp, the more I use it, the more I find myself thinking:
“This camera is delightfully strange—in a good way.”
I had been planning to take the fp out for street photography on days without client work or private shoots.
But on those days, it always seemed to rain, or a family member wasn’t feeling well, or a sudden job came in and I got busy.
So even though I bought the fp mainly for private shooting,
I’ve barely been able to use it for that purpose. It’s been a mild source of stress.
That said, it’s not that I haven’t been shooting with the fp at all. If I can’t take it out for personal work, I simply use it for client work—far more than I originally expected.
And through that process, I realized something.
In a previous article, I wrote that the fp’s RAW files feel similar to those from the α7III.
But in terms of color, the fp is surprisingly close to the Leica CL.
Especially when photographing blue skies, there’s a slightly greenish tint that feels very Leica‑like.
Of course, depending on the sensor size, lens characteristics, and color science, there are differences.
But the overall color impression is remarkably similar, and because both are neutral, they’re extremely easy to work with in post.
I also purchased the EVF‑11 for professional use.
With its 0.83× magnification, it’s very easy to see.
The fp is highly expandable, so if you keep adding accessories,
it quickly becomes a bulky setup. For private shooting, I prefer to remove the finder and rig and keep it minimal.
But for client work, convenience takes priority.
Since I don’t yet own any L‑mount lenses (still debating whether to invest),
I mainly use Contax/Yashica Zeiss lenses—the 50mm F1.7 MMJ and 85mm F1.4 MMJ.
Whether to call them “Yashica” or “Zeiss” is a small dilemma,
but in terms of rendering, they lean toward highlight‑heavy characteristics.
As for camera characteristics, the fp tends to produce deeper shadows.
If I wanted to emphasize lens character, Sony bodies might actually be better.
But because these are old lenses, their shadows can float easily compared to modern lenses.
That slight looseness in the shadows pairs beautifully with the fp.
Still, I’d like to eventually own a few L‑mount lenses that bring out the fp’s true character.
The fp is a modern camera, yet in terms of specs, it has many limitations. But that’s exactly why it’s charming.
If you want a camera that can shoot anything with perfect specs, you should go with Sony, Canon, or Nikon.
But for those of us who find satisfaction in something a little strange, the fp—and the Bf—are irresistible. (And yes, I still want the Bf…)
For people who enjoy a bit of eccentricity, this camera hits the mark.
I really want to take it out for street photography again soon.
